Fletcher's Waterbed Dreams

Lovely to be back at The Backwell Playhouse. Thanks for the invite and the
lovely welcome. It was really nice to have a chat with Dee (author), whose
passion for her writing was so evident.
Set against a wonderfully realised 1970s backdrop, complete with spot‐on
costumes and an irresistible playlist of era‐defining tracks, it had plenty of
style and heart. The production team clearly poured care into capturing the
spirit of the decade: from the textured, lived‐in set to the clever use of music
that punctuates key moments in one’s life of that decade. It certainly did for
me. Again I enjoyed the use of the 70’s advertisements cleverly interspersed
with adverts of our upcoming play.
While the storytelling takes time to settle—its first half sometimes drifted
without a clear sense of direction—but it gradually found its rhythm. As the
story tightens and the emotional stakes become clearer, the second half
reveals a more confident, cohesive play, that tidies up some of the threads
from the first half.
The performances throughout are earnest and committed, even if not always
fully grounded. The cast works hard to bring the material to life, and their
energy helps carry the production through its uneven moments. By the time
the play reaches its later scenes, the ensemble feels more connected, and
the story benefits from that growing assurance.
I did enjoy the design work for the production. The set is detailed and
atmospheric creating a believable 1970’s environment that the audience can
settle into right away. This along with costumes and props gave the show a
solid visual identity.
LIGHTING AND SOUND
The lighting and Sound team worked really well throughout the play. The
lighting set the right mood for each scene, and the sound cues were clear
and timed perfectly. Together, they helped create the right atmosphere and
supported the action on stage without ever distracting from it.

PROPS AND COSTUMES
The props felt really well chosen and suited to the play. Nice to see the old
record player back out again, one thing I did notice the cake tin was empty,
when the lid came off it acted as a mirror and we could see the tin was
empty. Just a small thing, but all adds to the bigger picture. The costumes
must’ve been great fun to source they really captured the era. They all look
well fitted and appropriate, and they added a lot of charm to the production.
KEN FLETCHER (Jon)
You brought a great energy to the stage, with strong projection and presence
that carried over nicely from the first play. I really enjoyed the contrast
between the two acts. In act one you felt almost down and out, looking
scruffy and by act two you came back re-energised, which made his journey
feel believable and engaging. The cleaning routine was a real highlight, very
funny and very relatable it showed off your knack for physical comedy
without overdoing it. There was also a good contrast between Ken and
Barbara this time around, especially with the divorce storyline. Your
relationship with Jean felt natural, and the little nervous moments between
you both added a nice touch of realism. There were certainly no doubt on
your commitment to these plays and delivered a strong and memorable
performance.
MERCEDES/SEBASTIAN (Lottie /Josh)
Mercedes, the heavily pregnant Neighbour was played with real commitment,
and you carried that physicality very convincingly. Sebastian brought good
energy to his role and clearly enjoyed being part of the dynamic downstairs
duo. Although some of the humour could’ve been timed a little better and a
bit more projection at times would’ve helped, you both contributed well to the
overall feel of the production your presence added variety to the scenes you
were in and I still have that memory of Mercedes swimming down the road
after the burst Water bed, that was a funny moment.
GAVIN (Ren)
This was a smaller role, but you handled it well. A bit more projection at times
would’ve helped, but you came across as a solid team player and supported
the scenes you were a part of. A good contribution to the overall production.
COSTAS (Mike)
I didn’t feel you had as much dialogue this time around, but you carried the
character over from the first place seamlessly. Even in the scenes where you
had little to say, you stayed completely focused and present, which really
added to the realism on stage. And then came your big scene, very funny,
very bold, and absolutely memorable. You threw yourself into it, and it paid
off. Safe to say you definitely made your mark in this production.

EMILIANA (Chloe)
You gave a strong, engaging performance throughout. Your opening turn in
the spoof 70’s advert is playful and sharply delivered, instantly setting the
quirky tone of the show. I thought you brought a nice depth to your role as
the sex worker and actually grounded the character with warmth. You have a
natural stage presence and I enjoyed the scenes you were in.
DEREK (Richard)
A smaller role within the production but you handled it well. A good actor who
fitted naturally into the scenes you were part of and supported the overall
flow of the production. A solid contribution.
BARBARA (Helen)
Although Barbara didn’t seem to be on stage as much this time, you certainly
made every single moment count. Your growth in confidence especially in
taking the step to divorce Ken, came across really well. You’re a strong
actress who brings a natural presence, and lifted each moment that you were
a part of. Always enjoyable to watch and your performance added real death
to the story.
MRS EMERY (Louise)
What fun you must have had recreating Mrs Emery once again. You carried
the nosy neighbour character over well from the first play. You brought great
energy to the production and clearly enjoyed leaning into the role. There were
a few moments where the performance slipped slightly into caricature, and I
found myself thinking that sometimes less can be more. Even so, you
remained engaging to watch and added a lively spark to every scene you
appeared in.
JEAN (Rachel)
You continued your character beautifully from the first play, keeping that girly
nervousness that makes her so endearing, while showing a bit more
confidence this time as she tried to win over her man. Every scene you
appeared in felt lifted by your presence. You brought a lovely mix of charm,
humour, and vulnerability that made her moments on stage really enjoyable.
DIRECTOR (Dee Parker)
How exciting it must feel to see your second instalment of this trilogy coming
to fruition. This shows a writer/director who continues to grow in confidence
and command of her craft. Whilst the first play leaned more heavily into
humour, this new chapter took on a slightly different tone, allowing the writer
to explore deeper emotional Shifts and character dynamics. It did feel like it
added a new layer to the world you’re trying to build.

The passion for your work is a unmistakable, directing in such a small space

can be a challenge, yet you handled it with real skill. The movement never felt
cramped or forced, actors navigated the set with natural ease which indicates
a thoughtful blocking strategy and a strong understanding of the space. The
set layout itself is deceptively simple but cleverly designed, giving each
performer room to breathe without ever upstaging one another. I think a bit
more pace in the first couple of scenes could have got us off to a better start,
just my thoughts, but it did soon gather momentum.
It’ll be interesting to see where you go with the third and final play. I look
forward to it.
Thanks again for your kind hospitality and look forward to seeing you all
again soon.
Best wishes
Mike. P

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